ISSN (Print) - 0012-9976 | ISSN (Online) - 2349-8846

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Single-screen Delights

House Full: Indian Cinema and the Active Audience by Lakshmi Srinivas, Chicago and London: The University of Chicago Press, 2016; pp xi + 315, $37.50 | £26.50.

Three-Town Revolution: Implications of Cinema's Politics for the Study of Urban Spaces

The point of convergence between cinema and constituents of the urban commons is the crowd and everything that the crowd connotes at any given point of time and in any discourse. Popular Telugu cinema is replete with examples of the crowd and what cinema does with it. This phenomenon of constituting and naming social formations and the misrecognitions it gives rise to are most instructive in a discussion of the urban commons. This paper analyses Eenadu, a 1982 Telugu film that is centrally concerned with crowds, to illustrate how cinema brings the mass gathered before the screen face-to-face with a version of itself on the screen, framing a new mode of political participation pivoted on the popular appeal of larger-than-life superstars.

Managing the Crisis-Bharateeyudu and the Ambivalence of Being Indian

The films of Shankar and Maniratnam have acquired a following that goes beyond the traditional class' audience because of their direct and innovative engagement with the present But to read Shankar's Bharateey udu as an argument for liberalisation is to miss the point. What the film demonstrates unequivocally is that something is indeed wrong with our liberalised or liberalising present, that it requires re-evaluation and intervention.

Roja in Law and Order State

S V Srinivas TEJASWINI NIRANJANA's article ('Integrating Whose Nation? Tourists and Terrorists in Roja' EPW, January 15) and the response by Venkatesh Chakravarthy and MS S Pandian ('More on Roja EPW, March 12) have quite correctly focused on the political significance of Maniratnam's much-dubbed film.
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